Epic Battles of Words. In Rhyme.

“Racist bars and jokes are known for creating shock value and major crowd reactions, and to be on the receiving end of those lines will trigger emotions not only for a battler but for the people who those lines are referring to. I chose to embrace the stereotypes and I guess you can say, ‘take it back, take away the power.’ Those words hold and in, I turn flip it on my opponents.

I incorporate a lot of Native schemes, references, jokes and use it to my advantage. I always expect the them to come and me with the same material as they should since it’s a battle, and I’ve recently learned to sway myself from using  stereotypes against my opponents because, for me to do so would be defeating the point I’m trying to accomplish when I battle.”

Meet Phrase vs Pyrex

Amidst a Dreadful War, a Tree Sprouted in a Tiny Crack

In 1941 Salvador Dali and Walt Disney created an animated story about Chronos, the personification of Time, who falls in love with a mortal. Here it is:

 

The Event, According to Master Henri Cartier-Bresson

When Henri Cartier-Bresson first picked up a tiny Leica 35mm film camera in 1931, he began a visual journey that would revolutionize 20th-century photography.

His camera could be wielded so discreetly that it enabled him to photograph while being virtually unseen by others — a near invisibility that turned photojournalism into a primary source of information and photography into a recognized art form.

Cartier-Bresson’s concept of the “decisive moment” — a split second that reveals the larger truth of a situation — shaped modern street photography and set the stage for hundreds of photojournalists to bring the world into living rooms through magazines such as Life and Look.

Though he often focused on the human condition in his photographs, Cartier-Besson would often look at his contact sheets or prints upside down to judge the images separate from any social content. They stood as rigorous compositions on their own.

His signature shooting technique was to find a visually arresting setting for a photograph and then patiently wait for that decisive moment to unfurl.

The director Louis Malle remembered that, despite all the turmoil at the peak of the student protests in Paris in May 1968, Mr. Cartier-Bresson took photographs at the rate of only about four an hour.”

With the primacy of digital photography and social media in the 21st century, slow, painstaking image-making is becoming a relic. Photographers and their images now move at a pace as fast as the events swirling around them. Technological advances in cameras and methods of distribution have heralded in a new visual era, not unlike what Cartier-Bresson’s Leica did almost a century ago.

Photographs are no longer rare artifacts, nor primarily a means of learning about the exotic or unknown. They arrive instantaneously on our phones every day from every corner of the world and from all kinds of people. With a smart phone, everyone is a photographer, and images compete for crowd approval on social media channels like Instagram, Snapchat and Facebook.

Which raises questions on this anniversary of Cartier-Bresson’s death: Do these changes make a master’s carefully constructed images irrelevant? Or are they even more instructive today?

Read the full article here | The New York Times

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The Federation of Damanhur, a Spiritual Community In Northern Italy

Damanhur was founded in 1975 by Oberto Airaudi with around 24 followers, and by 2000 the number had grown to 800. The group holds a mix of New Age and neopagan beliefs. They gained fame in 1992 through the disclosure of their secret excavation of an extensive underground temple, the Temples of Humankind, which was begun in 1978 under complete secrecy. The Italian authorities ordered construction work to stop because it had been constructed without planning approval, although artwork could continue. Retroactive permission was subsequently granted. (Wikipedia)

Airaudi and his supporters purchased property in the Italian Alps, in a region of Piedmont less than 30 miles north of the city of Turin. Two dozen pioneers organized the initial settlement. It was named Damanhur after an Egyptian city, located 100 miles “northwest of Cairo in the middle of the western Delta. It was once the site of the city of Tmn-Hor, dedicated to Horus.”  The group grew to include 200 “citizens” in 1985, 450 by 1998, and exceeded 800 by early in 2000. In addition, there are hundreds of associated members who donate to the community and attend some of its functions. Member satisfaction appears to be high; very few citizens leave the community. (Religious Tolerance)

Damanphur Virtual Tour | Temples of Humankind

The underground Temple of Man:

This is a unique underground building carved out of solid rock inside a small mountain. Its existence only became known to the outside world in 1992, after a disgruntled leader, Filippo Cerutti, sued the community. After an investigation, the City of Vidracco ordered the destruction of the temple. It had been constructed without building permits, and was in violation of various zoning regulations. However, public opinion and support from cultural and scientific sources has stalled the enforcement of the order. The community has since resumed construction, and expects to continue for decades into the future.

The Italian authorities in charge of the preservation of the works of art…declared it a protected ‘collective artistic work.’ For the outside visitor, it is a breathtaking experience, offering -room after room – amazing and unexpected discoveries…There are literally miles of corridors, and thousands of statues, windows and paintings” in the temple. It contains a series of halls, dedicated to water, the earth, the spheres, metals, and mirrors. The chambers and passages which make up the Temple are aligned to what they believe are three of the earth’s intersecting synchronic lines. The Damanhurians, view the Temple as a type of “alchemic laboratory“. Walking or meditating there is a metaphor for “going deep inside oneself in a spiritual pilgrimage.”

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Evidence of Mathematical Structures in Classic Literature

Researchers at Poland’s Institute of Nuclear Physics found complex ‘fractal’ patterning of sentences in literature, particularly in James Joyce’s Finnegans Wake, which resemble ‘ideal’ maths seen in nature.

[Joyce himself, reported to have said he wrote Finnegans Wake “to keep the critics busy for 300 years”, might have predicted this. In a letter about the novel, Work in Progess as he then knew it, he told Harriet Weaver: “I am really one of the greatest engineers, if not the greatest, in the world besides being a musicmaker, philosophist and heaps of other things. All the engines I know are wrong. Simplicity. I am making an engine with only one wheel. No spokes of course. The wheel is a perfect square. You see what I’m driving at, don’t you? I am awfully solemn about it, mind you, so you must not think it is a silly story about the mouse and the grapes. No, it’s a wheel, I tell the world. And it’s all square.”

The academics write in their paper that: “Studying characteristics of the sentence-length variability in a large corpus of world famous literary texts shows that an appealing and aesthetic optimum … involves self-similar, cascade-like alternations of various lengths of sentences.”

“An overwhelming majority of the studied texts simply obey such fractal attributes but especially spectacular in this respect are hypertext-like, ‘stream-of-consciousness’ novels. In addition, they appear to develop structures characteristic of irreducibly interwoven sets of fractals called multifractals.”]

Read the full report here | THE GUARDIAN

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Power and Pathos | Vestiges of an Ancient Greek Art Form, Survived Through Catastrophe

Fewer than 200 bronze sculptures from the Hellenistic era — a period that began more than 2,000 years ago — survive today. About a quarter of those are gathered in an exhibit at the National Gallery of Art called “Power and Pathos,” which offers a view into the spread of ancient Greek culture around the world, and the rise of a new art form (PBS)                                      Read the full story, and watch the video here | PBS

“The ones that we don’t have and we haven’t found are gone forever because they were melted down. And that’s the vast majority, thousands and thousands,” said Kenneth Lapatin, co-creator of the exhibit “Power and Pathos,” which originated at the J. Paul Getty Museum in Los Angeles.

It’s now at the National Gallery of Art in Washington, showcasing some 50 bronzes once lost in fires, shipwrecks, volcanoes and earthquakes, and includes the statue base of one of the greatest bronze sculptors, Lysippos, the favorite of Alexander the Great. (PBS)

 

Banksy and the Calais Jungle

A new artwork by Banksy criticising the use of teargas in the “Jungle” refugee camp in Calais has appeared on the French embassy in London. The artwork, which depicts a young girl from the film and musical Les Misérables with tears in her eyes as CS gas billows towards her, appeared overnight on Saturday.

In a first for the elusive graffiti artist, the artwork is interactive and includes a stencilled QR code beneath. If viewers hold their phone over the code, it links them to an online video of a police raid on the camps on 5 January.

The work is the latest in a series of pieces by the graffiti artist criticising Europe’s handling of the ongoing refugee crisis. It is a direct comment on the recent attempts by French authorities to bulldoze part of the camp in Calais – which has now been deemed unsafe – and evict about 1,500 refugees. (THE GUARDIAN)

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Workmen cover up a new artwork by Banksy. The artwork opposite the French embassy includes a QR code that links to a video of a police raid on the Calais ‘jungle’ camp | Photograph: Yui Mok/PA

See also: Clearing of the “Calais Jungle” in Pictures | THE GUARDIAN